In a city layered with lava, concrete, and desire, this walk offered a critical reading of the landscape through two emblematic sites: the archaeological site of Cuicuilco and the Ruta de la Amistad. Charged with pre-Hispanic memory, Olympic modernity, and urban speculation, these spaces became a point of departure for thinking about how the city holds multiple times, imaginaries, and tensions around the body, landscape, and progress.

Working across performance, speculative fiction, pop culture, and queer dissidence, Romeo Gómez López activated the walk through an alien character: a hybrid figure that unsettles the ways we look at history, desire, and belonging. His intervention paid homage to Raquel Welch’s iconic *Space Dance*, filmed in front of the Olympic sculptures of the Ruta de la Amistad, creating a choreography between bodies, ruins, and different temporalities.

In this action, the alien figure did not escape the world, but turned back to look at us. Through humor, theatricality, and estrangement, the walk questioned the racist narratives that attribute pyramids to extraterrestrial beings, erasing the technologies and knowledge of Indigenous cultures. Against this colonial fiction, Romeo proposed another kind of speculation: one in which the alien does not replace the ancestral, but interrupts dominant stories of origin, civilization, and modernity.

The walk became a gesture of subversion, where the queer and the ancestral came together to fracture the myth of linear progress. Moving between Cuicuilco and the Ruta de la Amistad, the piece activated a public, ephemeral, and collective experience in which the city was no longer just a setting, but a living archive: a territory crossed by memories, bodies, and fictions capable of imagining other futures.

This project was made possible with the support of Tequila 1800.

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